I am not your mother

Ivana Larrosa – solo exhibition

RollingmemoryFebruary 18-21, 2016

Reception : Thursday, Feb. 18, 6-9pm

Vermouth With The Artist : Friday, Feb. 19, 12-4pm

On View : Friday-Saturday, Feb. 19-20, 12-7pm / Sunday, Feb. 21, 12-5pm

ICP-Bard MFA studios : 24-20 Jackson Ave. Long Island City, NY 11101

Remembered Space

Much of Ivana Larrosa’s work is an exploration and expression of the strangely subjective perception that she inherited as a result of a traumatic car accident years ago, which left her with permanent double vision. Stuck in an overturned car for more than an hour, Larrosa brushed up against death and came out with a new desire for self-discovery. After a long period of physical therapy she began a series of solitary travels around the globe and focused all her energies on art making. In New York she has been using her body as material in documented performance; developing an acutely stylized approach that blends a playful womb-world with a hauntingly inescapable strange loop.

gravity

In one of my favorite video pieces, Gravity (4:31), the shot from above holds steady on a brown leather couch.  The artist crawls around it, contorting her body and grabbing on as if for her life. It reminds me of a childhood playing on couches where the wood tiles were lava, not to be stepped-on or fallen-into. The stagnant camera disorients the viewer as the piece endures, becoming a ghostly view of the out-of-body experience.

MaskMonths ago I watched as Larrosa brought a variety of candy colored plastic toys into the studio. There were little 3D figures reminiscent of the flashing LED people in the crosswalk light, but some of them were running and some had their fists raised like superheroes flying through space. She brought in old broken mechanical devices: tape players, TVs, and typewriters, then proceeded to color them with spray paint. She installed them laying on the floor in elaborate compositions with confetti and curlicues every which way – it was sensory overdrive. Looking at this work and it’s installation revealed moments of hilarity mixed with a hallucinogenic heaviness. Her little walk/run/fly figures cascaded down a color gradient banner toward the hardwood floor.

10

“Like in Star Wars, ‘I am your father,’ but it’s ‘I am not your mother’… that’s really how it came. I think in the end you need to use humor, I think in the end life is not that serious…. Like you are not going to get rejected at the gates of heaven if you don’t have enough pictures!”

Reflections upon Slidefest.

 
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Marvin Heiferman has been a great inspiration for all of us this semester. Slidefest has been a collaboration pushing and moving us as a class. We realized that being busy together we would agree much more on decisions and trust one another as colleagues. I feel we have improved in pure process. Each of us has our own unique qualities, others can learn from. My own work has developed during Slidefest and the group show: from at first being set on The Idea on interviewing everybody from ICP on how we today move between Mix Medias. How we do not neccessarily have to do photography to do a MFA. I would have liked to hear voices from everyone on that subject. But moving with the development of my own work I found that it was more relevant to ask myself these questions, digging deeper in my own process of creating. I ended up doing a 5 min.’s video on my current work, filming silkworms in their process from the creation of their cocoons, their transformation. Moving towards questions and ideas such as: how do we live today? – how do we move and how do we live ? How we follow patterns created by others and how we have let ourselves been placed in boxes.

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Instead of placing silkworms in my cell sculptures, I have placed people, almost as a nest of people. We move in sections and all of us are doing the same as animals. We eat- sleep-love-create-transform- build and die like silkworms.Slidefest has giving me a deeper insight of my own work. and made me ready for the summer and the next semester, allowing myself to let my work explore and be free in my process. That i’ts ok to shift and change plans to allow yourself to float with your inner stream, learn and transform.

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Bridget de Gersigny : INTERVIEW by Emilie Lundstrøm

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Bridget and I met a few days after her show and had a conversation. I had a river of questions for her, and I tried to keep the approach open and free.

Bridget is intelligent and means a lot for ICP. She is an inspiration and a commanding presence, and we sense her reflective mind. The questions I asked and the answers Bridget wrote became very long.

Here you will get an extract of what I look upon as the essence in her reflections of creating:

E: “Shape Shifter”, is that you?

B: Isn’t it all of us?

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MFA Thesis Exhibition: Sayaka Taninokuchi’s Video Farm

We are Moghitate (2011)

ICP-Bard MFA Studio, 24–20 Jackson Avenue, 3rd Floor, Long Island City, Queens

Join us at the ICP-Bard MFA Studio for Sayaka Taninokuchi’s Thesis Exhibition Video Farm.

Opening Reception: April 14 | Thursday | 6:00–9:00 pm
On View: April 15–16 | Friday–Saturday | 12:00–5:00 pm

MFA Solo Show Review: Dillon DeWaters – Prominent American Ghosts


Prominent American Ghosts is the very palpable result of the unremitting work of artist Dillon DeWaters.  Even though he hasn’t slept much as he’s been preparing the photography and video installation, I can tell he feels good about what he has made, and he should. The show clearly conveys a lingering melancholy left from the residue of information and technology, yet is not heavy handed or oppressive.  The bright color bars of his large, glossy, photographic piece encapsulates all of what each color summons in the collective consciousness of our society.  Subjects in both pictures and video tell stories about image culture and it’s icons; so ever-present that we are no longer aware of where they came from.  Dillon’s methods of making both the video material and photographic images consists of over-lapping and layering technologies, as well as original and appropriated image sources. The accumulative soundtrack is from each of the videos playing simultaneously and include music he made in past. The convergence of analog and digital methods create unfamiliar distortions of well-known images, which push our recognition of visual culture to the fringe of experience.

His practice is also a direct metaphor for how one technology quickly replaces another and our experience as human beings is tied in closely with quickly relinquishing the obsolete for the new. A photograph Dillon took of the iconic house from the Alfred Hitchcock film, “The Birds,” sits on several t.v. screens in sync and are slowly intercepted and spliced with choppy and fragmented visuals from the film itself.  As the screens loop the footage slowly falls out of sync with each other. The familiar image of “Nessie,” the loch ness monster has been generated from multiple digital and analog photographs as the meaning of the original image can no longer be conceived.  As one image comes after another, expressed in the endless onslaught of technologies, we are left grasping and feeling the loss of the physicality that once was.

Dillon doesn’t see this as a mourning though, at least, not in the conventional sense.  It is not meant to be a funeral procession. One small television screen towards the back shows pockets of his earlier work, slowly being engulfed by flames.  To him, this is symbolic of recognizing that as everything slowly deteriorates and moves out of sync, it is important to move forward and not settle as an artist; to keep making new work.

He was so tired after the final installation of the videos that his girlfriend, Sarah, took over programing the universal remote controlling all the videos.  When she was finished, she handed it over so he could push the play button. All of the five videos he had worked on arduously, appeared in their right places and time. He made passing comment that it could have been the most satisfying moment of his life.

The opening is this Friday night and can also be viewed this Thursday, Saturday and Sunday from noon – 5pm, at the ICP-Bard studios, 24-20 Jackson Avenue, 3rd Floor, Long Island City.